I’m delighted and honored that the irrepressible Jody—one of the bright new stars in the Bedazzled TOTS Brigade—chose me. (Look for her new book, Empath soon)

On with the questions.

1. WHAT AM I WORKING ON?

At the moment, I am working on revisions to book 3 of the Damaged series, Dispatched With Cause. After books 1 and 2, Damaged in Service and Defying Gravity, I needed a mental-health break and worked on a brand-new romance, Balefire.

The Damaged series was started in 2009. At the time, the story manifested so quickly, I could hardly keep up let alone worry about grammar or punctuation. That was a painful mistake that I am still correcting.

After some wonderful editorial coaching on my earlier works, I needed to make some signification changes to the third book in the series. In addition to cosmetic changes, I wanted to amp up the tension since this is the third book of four, it needs to produce a major turning point.

Now that I have pushed Zeke and Anne to another new challenge, I will begin work on revising book four.

2. HOW DOES MY WORK DIFFER FROM OTHERS IN THE SAME GENRE?

I guess I would say that the major difference is the story arc, which is deliberately written over a span of four books. I envisioned the story like a television drama. It would be an end to season with a cliffhanger, then resume with the next season. Evidently, that’s not how commercial fiction is written. Who knew?

If you read the series, you’ll know that cliff-hanger was not a popular option for many of the lesfic community. They wanted HEA – happily ever after, as well as all the loose ends tied neatly.

I radically changed the story in book 2, but needed to keep the storyline intact. (Note: writing “by committee” is not the wisest direction.)

I consider this series romantic intrigue. However, that wouldn’t describe each individual book. Yet there are strong elements of both romance/love and intrigue in all.

3. WHY DO I WRITE WHAT I DO?

Like many others, I write the kinds of books I want to read. And in fact, it’s one of the things that make it difficult for me to read them critically. Almost every time I start to don my editing cap, I get caught up in my characters lives and don’t see the minutia. It makes me lousy editor. But…a good reader!

Recently I had this discussion with a friend and told her that I enjoy writing romance because I want to learn to be a better writer. I want to learn the craft by reading and writing stories that resonate with so many people.

When I’m ready, I have at least three books in my head that will be much closer to literary fiction. In the meantime, there are at least three or four manuscripts already written that I want to revise and submit.

And besides, I can’t NOT write.

4. HOW DOES MY WRITING PROCESS WORK?

Glad they saved this one until last.

I would best be described as an imaginative, unrepentant, undisciplined, procrastinating Panster (someone who writes from the proverbial Seat of her pants). This is the polar opposite of a plotter (someone who lays out a foundation with a plan, notes, and or an outline.) I attended a conference with a very successful plotter who brought her outline in the form of an excel spread sheet 12 feet long!

At that moment I feared that I just didn’t have the fortitude to become a writer. But, at some point, I realized my strong suit was story-telling. I come from a long line of Gaelic story tellers.

Most of the stories I’ve created initially character driven, so I begin by creating the individuals around whom the story will grow. For the purpose of this blog I’ll use Balefire is an example.

I scoured several name lists to find Kirin Foster and Silke Dyson. I made up birthdays and did horoscopes on each woman, including their compatibility. I threw them into an actual situation based on a true story to see what would happen. I knew I wanted a Romance that was fairly uncomplicated. (Insert snickering)

I transported each woman to the airport. Coincidently, both left from the Milwaukee airport, where their paths did not cross. During this process, I found out who the secondary characters were. I also learned some of the back story.

Each scene unfolded moment-by-moment depending on whose point of view I was writing from. If it was Silke’s point of view, everything was painted with a level of anxiety, resignation, and her visual disability.

When I was with Kirin, I became a type A impatient, irritated, and disconnected frequent traveler.

Voila! The scene is set and I just need to navigate my two characters through it. The rest comes from my own history of traveling the same route, from the same airports, with the same conditions. The only thing I needed to change was the point of view. Then add to the mix a circus-trunk full of imagination.

One scene begets the next scene. For me, it’s linear and organic. I don’t create scenes independently and try to fit them into the story. On rare occasions, when I have been asked to move the scene or event to another part of the story, it’s been incredibly difficult, because each piece of the story is built on the information provided by previous blocks.

I have tried outlining a new story first, and I’m stopped at the gate. My brain just doesn’t work that way. I can use the structure to evaluate AFTER the story-line is written.

The downside of the linear approach is breaking the scenes and chapters into manageable pieces, while still keeping the reader turning the pages. I like to take breaks 😉

The upside? I love to makeup stories and then “Spackle” them with ambiance and emotion. It’s been fifteen years since I started writing the Epic Medical Mystery with 22 characters and 6 subplots, all from a singular omniscient narrator.

Thanks for stopping by! I’d be interested if anyone has questions, please share.

I’m delighted and honored that the irrepressible Jody —one of the bright new stars in the Bedazzled TOTS Brigade—chose me. (Look for her new book, Empath soon)

On with the questions.

1. WHAT AM I WORKING ON?

At the moment, I am working on revisions to book 3 of the Damaged series, Dispatched With Cause. After books 1 and 2, Damaged in Service and Defying Gravity, I needed a mental-health break and worked on a brand-new romance, Balefire.

The Damaged series was started in 2009. At the time, the story manifested so quickly, I could hardly keep up let alone worry about grammar or punctuation. That was a painful mistake that I am still correcting.

After some wonderful editorial coaching on my earlier works, I needed to make some signification changes to the third book in the series. In addition to cosmetic changes, I wanted to amp up the tension since this is the third book of four, it needs to produce a major turning point.

Now that I have pushed Zeke and Anne to another new challenge, I will begin work on revising book four.

2. HOW DOES MY WORK DIFFER FROM OTHERS IN THE SAME GENRE?

I guess I would say that the major difference is the story arc, which is deliberately written over a span of four books. I envisioned the story like a television drama. It would be an end to season with a cliffhanger, then resume with the next season. Evidently, that’s not how commercial fiction is written. Who knew?

If you read the series, you’ll know that cliff-hanger was not a popular option for many of the lesfic community. They wanted HEA – happily ever after, as well as all the loose ends tied neatly.

I radically changed the story in book 2, but needed to keep the storyline intact. (Note: writing “by committee” is not the wisest direction.)

I consider this series romantic intrigue. However, that wouldn’t describe each individual book. Yet there are strong elements of both romance/love and intrigue in all.

3. WHY DO I WRITE WHAT I DO?

Like many others, I write the kinds of books I want to read. And in fact, it’s one of the things that make it difficult for me to read them critically. Almost every time I start to don my editing cap, I get caught up in my characters lives and don’t see the minutia. It makes me lousy editor. But…a good reader!

Recently I had this discussion with a friend and told her that I enjoy writing romance because I want to learn to be a better writer. I want to learn the craft by reading and writing stories that resonate with so many people.

When I’m ready, I have at least three books in my head that will be much closer to literary fiction. In the meantime, there are at least three or four manuscripts already written that I want to revise and submit.

And besides, I can’t NOT write.

4. HOW DOES MY WRITING PROCESS WORK?

Glad they saved this one until last.

I would best be described as an imaginative, unrepentant, undisciplined, procrastinating Panster (someone who writes from the proverbial Seat of her pants). This is the polar opposite of a plotter (someone who lays out a foundation with a plan, notes, and or an outline.) I attended a conference with a very successful plotter who brought her outline in the form of an excel spread sheet 12 feet long!

At that moment I feared that I just didn’t have the fortitude to become a writer. But, at some point, I realized my strong suit was story-telling. I come from a long line of Gaelic story tellers.

Most of the stories I’ve created initially character driven, so I begin by creating the individuals around whom the story will grow. For the purpose of this blog I’ll use Balefire is an example.

I scoured several name lists to find Kirin Foster and Silke Dyson. I made up birthdays and did horoscopes on each woman, including their compatibility. I threw them into an actual situation based on a true story to see what would happen. I knew I wanted a Romance that was fairly uncomplicated. (Insert snickering)

I transported each woman to the airport. Coincidently, both left from the Milwaukee airport, where their paths did not cross. During this process, I found out who the secondary characters were. I also learned some of the back story.

Each scene unfolded moment-by-moment depending on whose point of view I was writing from. If it was Silke’s point of view, everything was painted with a level of anxiety, resignation, and her visual disability.

When I was with Kirin, I became a type A impatient, irritated, and disconnected frequent traveler.

Voila! The scene is set and I just need to navigate my two characters through it. The rest comes from my own history of traveling the same route, from the same airports, with the same conditions. The only thing I needed to change was the point of view. Then add to the mix a circus-trunk full of imagination.

One scene begets the next scene. For me, it’s linear and organic. I don’t create scenes independently and try to fit them into the story. On rare occasions, when I have been asked to move the scene or event to another part of the story, it’s been incredibly difficult, because each piece of the story is built on the information provided by previous blocks.

I have tried outlining a new story first, and I’m stopped at the gate. My brain just doesn’t work that way. I can use the structure to evaluate AFTER the story-line is written.

The downside of the linear approach is breaking the scenes and chapters into manageable pieces, while still keeping the reader turning the pages. I like to take breaks 😉

The upside? I love to makeup stories and then “Spackle” them with ambiance and emotion. It’s been fifteen years since I started writing the Epic Medical Mystery with 22 characters and 6 subplots, all from a singular omniscient narrator.

Thanks for stopping by! I’d be interested if anyone has questions, please share.

Sunny, breezy, and bouffant clouds dot the New Mexico sky. The first Sunday morning in August. The first week of August doesn’t hold any particular significance for me and yet the fact that it’s August already stuns me. What happened to June and July? I honestly try not to miss things, especially changes that go on around me. (That’s important, as one gets older, I’m told.)

Since I live in the middle of the desert with virtually no obstructed views, small movements and subtle changes in the landscape usually catch my attention. Sometimes they’re a cause for celebration—like a new wildflower growing in the rutted dirt of the access road; sometimes a cause for concern—a junior rattlesnake stretching out in the sun. Mostly I enjoy the way the light and shadow change the mountains.

In honor of time slipping away from me, I decided to offer a little allegory I wrote a while back.

***



I was surprised to see the wounded bird on the edge of my deck. She hadn’t struck the window; at least I didn’t think so. I watched for few minutes and although she didn’t move, her eyes never left me. Her raggedy feathers mauled as though a larger predator had carelessly dropped her. One wing hung at an awkward angle.

I approached tentatively speaking softly. Better judgment told me to leave her alone. Another voice urge to me to try to provide comfort. Very gently, I lifted her up in my hand—she accepted my help.

A prepared small box filled with a towel and shredded paper became her safe house. Over time, she trusted me to bring food and water. She even allowed me to feed her tiny amounts. But her open mouth was silent.

Several times a day and even through the night I got up to care for the wounded bird. My routine changed to include my new charge. Then one day she was standing on both legs. She hopped about her enclosure and began to eat in her own. The feathers gradually smoothed and shimmered. The wing straightened.

Eventually she found her voice and sang sweetly in the morning. She allowed me to carry her around perched on my finger. Her song was magical and her recovery heartening. She would fly around the house but always return to her safe place. One day, I opened the patio door and showed her the world. She chirped and cocked her head and then was gone. She struggled at first and then I nodded solemnly as she took off and soared.